Beautiful World - SURVIVAL DANCE - Chim↑Pom solo exhibition
美麗世界:倖存之舞－日本當代藝術最具爭議性的團體Chim↑Pom 個展
2012.03.03~04.15
美麗世界:倖存之舞－日本當代藝術最具爭議性的團體Chim↑Pom 個展
2012.03.03~04.15
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Curator／HUANG Chien-Hung
Chim ↑Pom, a group of six young artists (1 female, and 5 males), who have baited controversy throughout their careers, once wrote the letters "Pika!" (Flash!) with a jet in the sky over the Atomic Bomb Dome in Hiroshima which disturbed citizen of Hiroshima. More recently, they stuck a painting depicting the Fukushima No. 1 nuclear power plant to a mural in Tokyo's Shibuya Station, painted by the famed artist Taro Okamoto. It had also raised a huge discussion in Twitter. The first foreign solo show of Chim ↑Pom will be held in Project Fulfill Art Space, curated by Huang Chien-Hung, co-organized with Mujin-to Production (Tokyo) from March 3rd to April 15th. “Beautiful World: SURVIVAL DANCE” will include an exhibition in Project Fulfill Art Space and site-specific productions. Five members of Chim ↑Pom will come to Taipei for the site-specific productions from February, and it will also be shown in the gallery space from March 3rd. Taiwan, a place that Europeans once named, “Formosa (beautiful island),” sits over a fault line like Japan and faces the constant threat of earthquakes. Additionally, due to heavy commercialism, a widening gap between rich and poor remains difficult to close. On top of all this, pollution taints natural environments and numerous nuclear power plants remain in operation. Whether in the land or people, “beauty” seems almost paradoxical and difficult to accept. Under these environmental conditions, life will always be inseparable from the “taste for survival.” On another note, the complex historical relationship between Taiwan and Japan evolved into one of close and friendly interaction after the 311 Fukushima nuclear disaster. This marked the emergence of a new look for the twenty-first century, as well as the possibility for the construction of a new relationship - a connection between artistic societies that transcends national boundaries. A “return to being an armature” is not only an action that involves this notion of a taste for survival. An armature must rise against and challenge a world filled with inequality, poverty, and twisted moral values created by an elitist social structure. Additionally, it is an important moment for changing the focus of art, and finding methods in which amateurish characteristics are able to breathe renewed vitality and energy into the regularized field of art. The exhibition (includes sculptures, video works, and photos) will focus on how Chim↑Pom launches a new artistic position that is set between disaster and animal life. Additionally, possible directions for site-specific survey works include the following: 1.The connection of art societies that transcend national boundaries; 2.The use of a critical sense of joy to conduct efforts for a beautiful world; 3. Turning points in and the rewriting of history. Through the creative efforts of Chim↑Pom, the connection between art communities, and cooperative relationships in the planning process, an artistic action that is open and malleable is created through a joint effort. Without a doubt, Chim↑Pom not only sticks closely to characteristics of realistic contexts in the thought and innovation behind the direction of this work, they also invoke an imagination that transcends the existing speculative framework. As a result, this exhibition focuses on actively tackling social issues. Developed in the face of adversity and drawing upon the current situation experienced by viewers, the works of Chim↑Pom confront all of this with a positive and happy outlook, publicly displaying a response to current issues. About Chim↑Pom： Chim↑Pom was founded in Tokyo in 2005. Its members include Ryuta Ushiro, Yasutaka Hayashi, Masataka Okada, Toshinori Mizuno, and Motomu Inaoka. The group’s creative direction is extremely broad, tackling issues that deal with life, death, poverty, inequality, coexistence, peace, violence, street culture, and more. The ideals behind the group’s artistic works are inspired by society itself, and continuously attempt to transcend the current manipulation of art. Through dialogue, their artistic achievements have also inevitably become a part of society. Almost all of their exhibitions are expressed though the execution of a plan and are not limited to the creation and exhibition of physical artworks. During the six short years since their founding, they were invited by MORI ART MUSEUM to take part in its annual Japanese contemporary art exhibition hosted at Roppongi Crossing in 2010. In that same year, they were awarded the Asia Art Award by Korea’s SOMA Museum, and invited to the 29th Sao Paulo Biennale 2010 in Sao Paulo, Brazil. With these accomplishments, they have been gradually attracting attention across an international scale. One of the latest works “KI-AI 100” is now showing in MoMA PS1. 策展人／黃建宏 Chim↑Pom，由一女五男組成的6人團體，2009年在廣島原爆圓頂館(Atomic Bomb Dome)的上空寫下” ピカッ”(PIKA，意思是閃光)，造成廣島市民的騷動不安。2011年，他們將一幅描繪311後福島1號核電廠危機的圖畫，嵌入東京涉谷地鐵站中一幅由已故知名藝術家岡本太郎(Taro Okamoto)的壁畫”Myth of Tomorrow明日の神話” (註1)，引發當天推特上許多人的熱烈討論。 這一出道就不斷引發爭議的不羈團體Chim ↑Pom，在就在藝術空間力邀，並聘請黃建宏教授擔任策展人，將於3月首次來台展出”美麗世界：倖存之舞”策劃展，包含展覽與現地製作計劃。5位團員將提早於2月中到台北進行現地製作的計劃，其成果會一併於3月3日開幕呈現。 台灣，這塊被歐洲人稱之為「美麗島」的地方，就跟日本一樣，位在板塊斷層帶上，面對著地震的威脅，也同樣因為高度重商主義，有著難以消弭的城市貧富差距、自然環境的污染和許多的核電廠。無論是土地還是人，「美麗」這件事都顯得如此弔詭而困難，在這些環境條件下，生活總是離不開「倖存之味」。另一方面，台灣與日本在歷史上的複雜關係，在311福島核災後密切而友好的互動，則似乎在二十一世紀出現了重新看待甚至建構新關係的可能性，一種超越國界的藝術社會連結，「重返素人」不僅是面對倖存之味的行動，素人必須起而反對社會菁英造成的貧富不均與價值觀扭曲，也是改變藝術關懷的重要時刻，素人特質如何讓制式化的藝術創作獲得新的活力與能量。 ”美麗世界：倖存之舞”在展覽中的12件作品（含雕塑、錄像及攝影），將聚焦在Chim↑Pom如何在災難與動物生命之間，開啟出一種新的藝術位置。而在現地調查創作上則包含下列可能的方向：一、跨國界的藝術社會連結；二、以批判性愉悅為美麗世界而努力；三、歷史的轉折與改寫。藉由Chim↑Pom的創造力、與藝術社群的連結以及策劃上的合作關係，共同打造一個具開放性、延展性的藝術行動。 Chim↑Pom的創作面向思考創新，不僅緊貼著現實脈絡的特質，也具有超越現存思辨框架的想像力。所以，這個展覽將集中在積極面對社會議題、在逆境中發展的Chim↑Pom作品上，他們透過觀察人的當下處境，正面而快樂地面對這一切，公開展示並對於當下議題進行回應。 有關Chim↑Pom： Chim↑Pom於2005年成立於東京，成員有Ellie, 卯城龍太Ryuta Ushiro, 林靖高Yasutaka Hayashi, 岡田將孝Masataka Okada, 水野俊紀Toshinori Mizuno and 稻岡求Motomu Inaoka。創作方向極為廣泛，涉及到生死問題、貧窮、不平等、共生、和平、暴力、街頭文化等等。 其創作理念認為藝術創作必然源自社會，並不斷嘗試超越當下的藝術操作，而創作成果也必然在對話中成為社會的一部分。他們每一次展演幾乎都是一個計劃的呈現，不限於作品的生產與展示。 在短短成軍的六年裡，他們於2010年在森美術館每年的六本木交叉點日本當代藝術展中受邀參展，同一年獲頒韓國舉辦的亞洲現代藝術獎，也同時參加該年的聖保羅雙年展，逐漸地受到國際相當的注目。最新作品” KI-AI 100”目前正於紐約MoMA PS1展出。 註1: 岡本太郎(Taro Okamoto)的”Myth of Tomorrow明日の神話” 壁畫，內容描述廣島及第五福竜丸(Daigo Fukuryumaru)遭受輻射災難的歷史縮寫。引發推友的討論點在於這被加上去的一塊繪畫是否原本就在那裡?而是否岡本先生已預料到福島核災? |